Hampton Hawes

[sal]

Picked up "For Real" a month ago...great session!

[Big Beat Steve]

I don't see how anyone could claim that the "All Night Session" were more accessible in any way than Hawes' other Contemporary dates of the time. Stylistically, they were all pretty much in the same bag. The problem with "All Night Session" (for those who have a problem with it) is that there's something about those four players on that night that didn't click rhythmically. My guess is that the rather four-square time feel of Jim Hall of that period (and I like Jim Hall of that period) was something that seemed to infect Hawes' own normally fluid playing -- on this night, for some reason. On the other hand -- and go figure -- that same quality in early Hall certainly didn't inhibit Carl Perkins on Hall's own Pacific Jazz album of about the same time; in fact, that's some of best Carl Perkins on record. As always, YMMV.

Maybe we will just have to agree to disagree but just to get this straight: When I referred to "accessibility" I was definitely not implying any comparison with Hawes' other Contemporary albums but was rather trying to hint at the fact that some of those around here apear to prefer something more elaborate that they have to "work their way into" (at least that's the impresion I often get here from a lot of posts discussing a lot of different jazzmen). At any rate, I found "All Night Long" very accessible and also quite fluently swinging and just enjoy listening to it intensely (rather than dissecting). Now if I am tin-eared I probably am just as tin-eared as Ted Gioia, Robert Gordon, John A. Tynan and Ron Wynn. So be it then ...

BTW, re- "For Real": As another often-overlooked Hawes outing from that time I'd like to mention "The Sermon" from 1958, recorded just before he was to serve his prison term (but the music remained in the can until the late 80s).

[The Magnificent Goldberg]

I don't see how anyone could claim that the "All Night Session" were more accessible in any way than Hawes' other Contemporary dates of the time. Stylistically, they were all pretty much in the same bag. The problem with "All Night Session" (for those who have a problem with it) is that there's something about those four players on that night that didn't click rhythmically. My guess is that the rather four-square time feel of Jim Hall of that period (and I like Jim Hall of that period) was something that seemed to infect Hawes' own normally fluid playing -- on this night, for some reason. On the other hand -- and go figure -- that same quality in early Hall certainly didn't inhibit Carl Perkins on Hall's own Pacific Jazz album of about the same time; in fact, that's some of best Carl Perkins on record. As always, YMMV.

Maybe we will just have to agree to disagree but just to get this straight: When I referred to "accessibility" I was definitely not implying any comparison with Hawes' other Contemporary albums but was rather trying to hint at the fact that some of those around here apear to prefer something more elaborate that they have to "work their way into" (at least that's the impresion I often get here from a lot of posts discussing a lot of different jazzmen). At any rate, I found "All Night Long" very accessible and also quite fluently swinging and just enjoy listening to it intensely (rather than dissecting). Now if I am tin-eared I probably am just as tin-eared as Ted Gioia, Robert Gordon, John A. Tynan and Ron Wynn. So be it then ...

BTW, re- "For Real": As another often-overlooked Hawes outing from that time I'd like to mention "The Sermon" from 1958, recorded just before he was to serve his prison term (but the music remained in the can until the late 80s).

Yes, I like "The sermon" too. Very down to earth playing.

MG

[MartyJazz]

I've had the "All Night Session" on a 3 disc Japanese Contemporary box for quite a few years, and yeah, I have to agree, it doesn't do much for me. FWIW, I prefer later Hawes, in particular the 1968 Polydor session that is now titled "Blues for Bud" on CD. (The original LP was titled "Spanish Eyes", I believe; I'm too lazy to go downstairs to the "vault" to look it up).

[J.A.W.]

I've had the "All Night Session" on a 3 disc Japanese Contemporary box for quite a few years

A Japanese 3-disc set? Mine was a Japanese 2CD Contemporary/Victor set with the three albums. I sold it a few years ago.

Edited August 13, 2007 by J.A.W.

[Peter Friedman]

Re- All Night Session, I must admit this was one of those cases where I bought the LP's after reading a favorable rewiew/recommendation (I just happened to come across the set of all 3 shortly after having read Ted Gioia's "West Coast Jazz").

Yes - I do like all three recordings, but on the other hand I never really compared them in greater detail with his other Contemporary albums of that time nor with the "Poll Winners" (and I like all of these too). Could it be that "All Night Session" is too accessible and too effortlessly swinging for some and therefore not demanding enough on their ears (so they automatically consider it too slick and not "stimulating" enough? )

Sometimes I feel people just rate and compare things to death; as if recording A necessarily has to outdo or top recording B, etc. Some items just aren't really comparable and ought to be listened to and enjoyed on their own terms.

I don't see how anyone could claim that the "All Night Session" were more accessible in any way than Hawes' other Contemporary dates of the time. Stylistically, they were all pretty much in the same bag. The problem with "All Night Session" (for those who have a problem with it) is that there's something about those four players on that night that didn't click rhythmically. My guess is that the rather four-square time feel of Jim Hall of that period (and I like Jim Hall of that period) was something that seemed to infect Hawes' own normally fluid playing -- on this night, for some reason. On the other hand -- and go figure -- that same quality in early Hall certainly didn't inhibit Carl Perkins on Hall's own Pacific Jazz album of about the same time; in fact, that's some of best Carl Perkins on record. As always, YMMV.

********************************************************************************

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I remember buying Hampton Hawes very first trio LP on Contemporary when it was initially released back in the mid-50's. I liked it a lot and from that point on tried to get all of Hawes recordings. So naturally, I got the "All Night Sessions" LPs when they came out. For a reason I could never quite grasp, I shared Larry Kart's view that there was something just not right about this session. After reading Larry's comments in this thread I believe he has nailed it. The time feeling of Hawes and Jim Hall are not in sync. I also agree with Chuck that Bruz Freeman's drum work may also be part of the problem.

There are a lot of very good Hampton Hawes recordings available, and while "All Night Sessions" is not absolutely horrible, it would be down very low on the list of Hawes recordings I enjoy.

Edited August 14, 2007 by Peter Friedman

[JohnS]

The All Night Session is pretty good byt for me the best Hawes are the first three trio albums on Contemporary, also on nicely collected on a Gambit 2cd.

That's Definitive, not Gambit - not that this makes a major difference ...

Odd, mine's definitely on Gambit, same catalogue number though.

Edited August 15, 2007 by JohnS

[Eloe Omoe]

The All Night Session is pretty good byt for me the best Hawes are the first three trio albums on Contemporary, also on nicely collected on a Gambit 2cd.

That's Definitive, not Gambit - not that this makes a major difference ...

Odd, mine's definitely on Gambit, same catalogue number though.

It must be a rip-off from from Definitive

[AllenLowe]

all night sessions is auto-pilot bebop, much as I love Hawes - his best work is the live 1950s stuff Xanadu put out and that's now been bootleged elsewhere - alo as a sideman on the live Warell Gray that Xanadu put out - in these years he's a mad man, brilliantly inventive and hot. ALso, for a studio session, I like Green Leaves of Summer -

[Claude]

Could the Shelly Manne at the Blackhawk(vol 1-5) be far behind???

Any guesses?

6 months

9 months

12 months

2009, when the recordings go into public domain in Europe.

BTW, the Hampton Hawes set is probably in violation of copyrights for taking over the original artwork (something that previous Definitive CDs have always avoided).

Edited August 19, 2007 by Claude

[Bluesnik]

i have a soft spot for Hampton Hawes Trio on Contemporary, which i have as a VICJ i think (it's also out as an OJC). i mean the one with hte green background where Hawes is tip-toeing over some japanese calligraphy. i don't know if it also was his fist date. i'd have to check.

[paul secor]

i have a soft spot for Hampton Hawes Trio on Contemporary, which i have as a VICJ i think (it's also out as an OJC). i mean the one with hte green background where Hawes is tip-toeing over some japanese calligraphy. i don't know if it also was his fist date. i'd have to check.

Hampton Hawes Vol. 1: The Trio

Cover design by Pauline Annon

[randyhersom]

Ah, yes, The Green Leaves of Summer. The one with Ellington, Monk and Hamp ; )

[ejp626]

BTW, the Hampton Hawes set is probably in violation of copyrights for taking over the original artwork (something that previous Definitive CDs have always avoided).

I suspect that the Andorreans have gotten (bad?) legal advice on the artwork question, since a large number of CD releases now have the same cover art (with minor differences in title and so on). Clark Terry and Ruby Braff are particularly notable.

[Jim R]

all night sessions is auto-pilot bebop

Kind of sums it up for me. It's okay, but I much prefer the later Hawes Contemporary albums (Green Leaves Of Summer, Here And Now, I'm All Smiles, for example). The interpretations of those older standards on ANS just don't have the same appeal to me as the 60's pop material, which I think Hawes interpreted beautifully. Like Stanley T, Grant Green, and some others, I think Hawes excelled in the realm of 60's material.

[J.A.W.]

BTW, the Hampton Hawes set is probably in violation of copyrights for taking over the original artwork (something that previous Definitive CDs have always avoided).

I suspect that the Andorreans have gotten (bad?) legal advice on the artwork question, since a large number of CD releases now have the same cover art (with minor differences in title and so on). Clark Terry and Ruby Braff are particularly notable.

If it is a violation of copyrights, they'll probably get away with it - I don't think taking them to court is cost-effective.

[Morganized]

Could the Shelly Manne at the Blackhawk(vol 1-5) be far behind???

Any guesses?

6 months

9 months

12 months

2009, when the recordings go into public domain in Europe.

BTW, the Hampton Hawes set is probably in violation of copyrights for taking over the original artwork (something that previous Definitive CDs have always avoided).

BTW, the Hampton Hawes set is probably in violation of copyrights for taking over the original artwork (something that previous Definitive CDs have always avoided).

I suspect that the Andorreans have gotten (bad?) legal advice on the artwork question, since a large number of CD releases now have the same cover art (with minor differences in title and so on). Clark Terry and Ruby Braff are particularly notable.

If it is a violation of copyrights, they'll probably get away with it - I don't think taking them to court is cost-effective.

Actually I have noticed that they have been releasing some of this material in advance of the 50 year period.....probably for the same reason cited by Hans. Not cost effective to pursue.